By Friedrich Nietzsche (Translated by Francis Golffing. New York: Doubleday & Company, Inc., 1956)
Sophocles conceived doomed Oedipus, the greatest sufferer of the Greek stage, as a pattern of nobility, destined to error and misery despite his wisdom, yet exercising a beneficent influence upon his environment in virtue of his boundless grief. The profound poet tells us that a man who is truly noble is incapable of sin; though every law, every natural order, indeed the entire canon of ethics, perish by his actions, those very actions will create a circle of higher consequences able to found a new world on the ruins of the old. This is the poet's message, insofar as he is at the same time a religious thinker. In his capacity as poet, he presents us in the beginning with a complicated legal knot, in the slow unraveling of which the judge brings about his own destruction. The typically Greek delight in this dialectical solution is so great that it imparts an element of triumphant serenity to the work, and thus removes the sting lurking in the ghastly premises of the plot. In Oedipus at Colonus we meet this same serenity, but utterly transfigured. In contrast to the aged hero, stricken with excess of grief and passively undergoing his many misfortunes, we have here a transcendent serenity issuing from above and hinting that by his passive endurance the hero may yet gain a consummate energy of action. This activity (so different from his earlier conscious striving, which had resulted in pure passivity) will extend far beyond the limited experience of his own life. Thus the legal knot of the Oedipus fable, which had seemed to mortal eyes incapable of being disentangled, is slowly loosened. And we experience the most profound human joy as we witness this divine counterpart of dialectics. If this explanation has done the poet justice, it may yet be asked whether it has exhausted the implications of the myth; and now we see that the poet's entire conception was nothing more nor less than the luminous afterimage which kind nature provides our eyes after a look into the abyss. Oedipus, his father's murderer, his mother's lover, solver of the Sphinx's riddle! What is the meaning of this triple fate? An ancient popular belief, especially strong in Persia, holds that a wise magus must be incestuously begotten. If we examine Oedipus, the solver of riddles and liberator of his mother, in the light of this Parsee belief, we may conclude that wherever soothsaying and magical powers have broken the spell of present and future, the rigid law of individuation, the magic circle of nature, extreme unnaturalness-in this case incest-is the necessary antecedent; for how should man force nature to yield up her secrets but by successfully resisting her, that is to say, by unnatural acts? This is the recognition I find expressed in the terrible triad of Oedipean fates: the same man who solved the riddle of nature (the ambiguous Sphinx ) must also, as murderer of his father and husband of his mother, break the consecrated tables of the natural order. It is as though the myth whispered to us that wisdom, and especially Dionysiac wisdom, is an unnatural crime, and that whoever, in pride of knowledge, hurls nature into the abyss of destruction, must himself experience nature's disintegration. "The edge of wisdom is turned against the wise man; wisdom is a crime committed on nature": such are the terrible words addressed to us by myth.